创伤记忆与“隐忍”叙事——评《地久天长》的时空意识  

The Traumatic Memory and the Narrative of"Forbearance"——A Review of the Spatiotemporal Consciousness in the Film"So Long,My Son"

作　　者：王晓旭[1,2] Wang Xiaoxu(Beijing Normal University,Beijing 100091;Langfang Teachers’College,Langfang 065000)

机构地区：[1]北京师范大学,北京100091 [2]廊坊师范学院,廊坊065000

出　　处：《新疆艺术学院学报》2023年第4期89-97,共9页Journal of Xinjiang Arts University

基　　金：河北省社科基金(项目编号:HB20YS032)河北影院空间文化形态考述(1896-2020)阶段性成果。

摘　　要：影片《地久天长》的叙事时间不是均质的,而是一段时间的“绵延”,呈现出断裂、反复且螺旋上升的特征,表征着创伤主体对时间的非持续性的感知;叙事空间具有“回荡”特征,创伤主体参与了空间的迁徙、先验性“存在空间”的影响、空间的回归与再次迁徙这一叙事进程。文章通过对影片涉及的片段分析,并以“身体主体”理论作为话语来阐释创伤记忆难以消逝的原因,尝试说明身体在影片中作为时空的感知主体具有理论和叙事的合理性。一方面,身体作为感知的主体,提供了个体记忆痕迹留存的空间;另一方面,身体作为媒介,是过去时空进入当下时空的重要介质,实现了时空的连接和对话。The narrative time of the film"So Long,My Son"is not homogeneous.It is a period of"continuity"with the characteristics of rupture,recurrence,and spiral rise,which represents the disruptive perception of time by the subject of trauma.The narrative space has the characteristic of"reverberation".The subject of trauma participates in the migration of space,the influence of prior"existence space",the regression,and re-migration of space in the narrative process.The paper analyzes certain segments in the film and explains the reasons why traumatic memories are difficult to eliminate from the perspective of the"body subject"theory,attempting to prove that it is reasonable in terms of theory and narrative to consider body as the perception subject of time and space in the film.On the one hand,the body,as the subject of perception,provides a storage space for individual memory traces.On the other hand,the body,as a important medium,helps realize the entry of the past time and space into the present time and space and bring about the connection and dialogue between time and space.

关 键 词：《地久天长》 时空意识 创伤记忆 身体主体 

分 类 号：J905[艺术—电影电视艺术]